Music Theory IV

Due January 12 and 14. Read Chapter 33 on modes and other 20th century techniques.

A. Complete the exercises in the Workbook on modes.

B. Evaluate the chord quality for each triad of the D Dorian mode. Devise a theory of chord progression for the D Dorian mode. Consider where the tritone falls in the mode, would this be a factor? Which chord might be used as the most frequent pen-ultimate chord, that is the chord preceding a final chord on d minor, i. Notice that when using Roman numerals for modes, we would not assume that the old tonal paradigm of T-PD-D-T would make sense.

C. To assist you in this, read about Lili Boulanger and listen to her music. Report your ideas for modal chord progression and your reactions to the music of Lili Boulanger as a modal and model composer in the Lili Boulanger blog on the left.

D. Workbook 33.1 and 33.2

Composition I due February 2- Modal composition

Due January 17.

Complete 50% of your Composition Sketch No. 1. Share with the class. Submit to OneDrive/Composition I/Sketches I. Either Finale or a pdf of a scanned page of hand written music. Requirements:

Instrumental Duet. No Keyboards. Modal or Bi-modal. Exploit tetrachords and pentachords and triads. Control texture ( mono-homo-poly). Pay special attention to rhythm and meter. Use arpeggios (segments) and scales to clearly identify the mode and pitch class center.

Make sure you start from an idea and then develop a design.

Search the internet and save some internet links that discuss extended harmony (9th, 11th and 13th chords). Listen to some music of Duke Ellington. Save the link so we can listen in class.

Due January 21

Create/write two chord progression in a mode. Identify the mode.

Use extended harmony on almost every chord.

Use common tones

Let one progression be a circle of descending 5ths

Invent the other progression

Follow the guidelines/considerations for part-writing of extened harmoned

Post to OneDrive/Extended Harmonies

Due January 27

Complete your assigned project on Bartok or Debussy in the Workbook, Ch 33. Listen to the piece using the anthology, annotate your analysis into the anthology. Record answers in the Workbook. Become familiar with all of the questions on your assigned piece. Work together as a group to divide up the work relatively evenly. Bring your answers to class. Bring your anthology.

Due Thursday, February 6, 10:00 am. Final Composition I due. With final changes, dynamics, tempo and articulations. Proposal for set theory piece, Composition II- for voices-SSA or TTB. Complete all exercises in Chapter 1 I-VII.

Due Tuesday, February 16, 10:00 am. Complete Straus Ch. 1 all exercises. Show all work. Turn in a hard copy. Label answers clearly.

Due Tuesday, March 3 – Chapter 2 problems all- show work, use calculator if you want.

Composition No 2. Set Theory Due Tuesday after spring break

tri-chord or tetra-chord set

up to 3 sets

T and I and TnI to find new pitches

no restriction on consonance or dissonance

any order as long as can be traced back to the original

Your friend is rhythm and color- have fun

Must be performable by the commissioning person.

One page is only music, the page is music plus numbers plus analysis

Thursday, March 17 Midterm Exam on-line. Go to Canvas for this course, open the Midterm assignment for the Midterm Exam and take the exam starting at 10:00 am on March 17. Open book exam.

Due March 29. Step One: You will report on three new pieces of contemporary music. (Use this list of composers.) Report: composer, work and your reaction in class. Approximately 200 words of very descriptive content using them vocabulary you have been learning in this class. All vocabulary terms are to be in bold. Submit Be ready-make a statement!

Due March 29. Step Two: 1. Look up on the Internet and define each of the terms listed at the end of this paragraph. Use the Oxford Dictionary of music or the Groves online through the library or a reputable music site about 20th century music. 2. Find an example in the literature. 3. Develop a draft composition idea for a work that utilizes three of the following terms/devices: music distributed over several octaves (wide range), non-traditional rhythmic constructions (either in long values or short values) pandiatonicism, polytonal, syncopation, changing meters, asymmetric meter, additive rhythm, complex meter, polymeter, a metric music, added values (Oliver Messiaen), nonretrogradable rhythm (Oliver Messiaen: Quartet for the End of Time -1941), tempo modulation, polytempo, serialized rhythm, isorhythm, ostinato.Take a look at this calculator and become familiar with it (12-tone matrix calculator).

March 31: Present your assigned term, web sites,definitions, and musical examples with composers. Determine the three concepts you are going to use in your composition No. 3. Share your idea with the class.

April 5: Finish presentations. Present a draft composition for a work that utilizes three of the following terms/devices: music distributed over several octaves (wide range), non-traditional rhythmic constructions (either in long values or short values) pandiatonicism, polytonal, syncopation, changing meters, asymmetric meter, additive rhythm, complex meter, polymeter, a metric music, added values (Oliver Messiaen), nonretrogradable rhythm (Oliver Messiaen: Quartet for the End of Time -1941), tempo modulation, polytempo, serialized rhythm, isorhythm, ostinato.Criteria:

clearly uses three related elements

the piece has strong rhythmic identity.

the piece does not have to have a strong pitch structure (key, centric, modal, set theory) the piece could be all indefinite pitch, i.e. for drums and rhythm instruments; or the piece could be on just a few notes that demonstrate your three features

Use Finale.

Have your piece 85% complete.

Present your work in class

April 7:

5 minute presentation that explains your plan for composition #3.

Read Ch. 36 in your textbook. Workbook Ch. 36: 436-437

Listen to Stravinsky “Full Fadom Five from Three Songs on Wiliam Shakespeare.

April 12: Present your finished piece. Store it on OneDrive as a .pdf and a .musx file. Print off a copy and bring to class. Complete Workbook p. 438 III and p. 439-40 [30 minutes]. Alex, bring musical examples as assigned.

April 19

Composition Plan 4: View a video on the topic of climate change or how climate change will impact our immediate future. Discuss with the class the video you have chosen to set music to. Review the entire list of terms we have developed this semester. Discuss with the class exactly how you will integrate a subset of the techniques learned into a 60 seconds musical segment that will support, enhance and further develop the video segment you have chosen. Using Finale write out several examples of possible combined techniques that you think might work with your video. Save the segments/examples to OneDrive/Composition 4. We will review these in class. Research climate change on Wikipedia or at any other reputable site. Choose an aspect that interests you. Cite the article at the bottom of your Finale file. Write several sentence that interrelate the research, the video and your musicial sketches you have drafted out. Post the written information to the blog: “Contemporary Music.”

Complete pp.438-440 in the Workbook.

April 21: Electronic file, hard copy and audio and video for discussion of your composition #4-draft. List of all terms in alphabetical order on one sheet of paper. Bring 5 copies to class in addition to your copy. Give one copy to each class member.

April 26: Composition 4 Due with video. Perform in class. Submit to Composition folder on OneDrive. Composition 5:

Due at the Final Exam time. Complete a 2-3 minute composition in the style that you wish for a combination of instruments and or voices.